S-R-G-m-P-D-n-S
Sarodiya Rahul Bhattacharya describes the late-afternoon Gaoti as “an underutilised gem…a pleasant, fulfilled feeling…like enjoying a perfume without actually knowing why it’s so nice”. Also known as ‘Gawati’, the raga is often considered near-identical to Bheem (although strictly speaking, Bheem can be distinguished by its occasional use of komal ga in taar saptak). Straightforward audav ascents are balanced by sampurna descending lines which tend to run in ‘paired’ sequences (e.g. nS, DP, mP, Gm, RS).
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• Hindustani Raga Index •
—Acharya Jayanta Bose (2013)—
[motifs & taans, e.g. 1:11] n(SnSn…) DPD; nnmPnS GGSnSG, m(g)SnS, G, m(g)SnS, GmPn S(n)S(n)S(n)S…
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+
Sapta: Audav | Shadav | Sampurna
Poorvang: SRGM | SRG | SRM | SGM
Uttarang: PDNS | PDS | PNS | DNS
Varjit: Re | Ga | Ma | Pa | Dha | Ni
Double: rR | gG | mM | dD | nN
Thaat: 10 | 32 | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Symmetries: Mirror | Rotation | Palindr.
Aroha: Audav | Shadav | Sampurna
Avroh: Audav | Shadav | Sampurna
Jati: Equal | Balanced | Av.+1 | Av.+2
Samay: Morning | Aftern. | Eve. | Night
Murchana: Bhup. | Bihag | Bilaw. | Charu.
Raganga: Bhairav | Malhar | Kan. | Todi
Construction: Jod | Mishra | Oddball
Origin: Ancient | Carnatic | Modern
Dominance: Poorvang | Uttarang
Prevalence: A-list | Prachalit | Aprach.
–Swara Geometries–
• Core form: S-R-G-m-P-D-n-S
• Reverse: SRgmPdnS (=Darbari)
• Inverse: Ni; SRGPDS (=Bhupali)
• Imperfect: 1 (Ga)
• Detached: none
• Symmetries: mirror (r—P)
• Murchanas: Bilawal set
–Global Translations–
• Carnatic: Harikambhoji
S-R2-G3-M1-P-D2-N2-S
• Jazz: Mixolydian
1-2-3-4-5-6-b7-8
• Pitch classes (‘fret-jumps’):
0-2-4-5-7-9-10-0
(2–2–1–2–2–1–2)
o • o • o o • o • o o • o
• Tanpura: Sa–Pa
• Names: Gaoti, Gawati, (~Bheem)
—Shivkumar Sharma (1997)—